Commedia Dell'arte
Commedia Dell'arte, translated from Italian: "the comedy of art", is an Italian style of comedy theatre originating in the 16th century. Throughout the next two centuries it spread throughout Europe developing its own iterations, with the most popular being the Comédie-Italienne in France. It also evolved and elements of Commedia Dell'arte were naturalized in pantomime, specifically the harlequinade and more recognisably Punch from The Punch-and-Judy Show. Even today Commedia Dell'arte acts as a foundation for comedy with its recognisable stock characters and stock plots (Blackadder II serves as a great example of this).
In this clip of Blackadder II, we see very clearly the characters based off of Commedia Dell'arte: Edmund Blackadder (Rowan Atkinson) is based on the Arlecchino; Baldrick (Tony Robinson) is based on the Zanni; The Bishop (Ronald Lacey) is based on Il Dottore; and Lord Percy (Tim McInnerny) is based on Flavio.
The origin of Commedia Dell'arte is hard to trace and we still do not have a definitive answer, however it is believed that the form of theatre emerged from rustic regional dialect farces in Italy during the Middle Ages. These would be performed by unorganised amateurs and seemingly act as the precursor to the consistently used characters and plots of Commedia Dell'arte, which were sourced from an exaggeration or parody of regional or stock fictional types. From this, the professional companies then arose who would recruit the unorganised strolling players, street performers and a few better-educated adventurers to experiment with forms suiting public taste. These actors were then the ones who gave Commedia Dell'arte its character, through their wits and ability to convey character with little scenery or costume.
One of the most important aspects of any Commedia Dell'arte theatre is that it is the same across every company, which applies to its characters and plots. These plots would be very basic and would only be roughly followed as the company would largely improvise, allowing them to make it their own, whilst still remaining recognisable. The only rehearsed parts of any performance that was consistent across all companies was the Lazzi.
A Lazzi would be a temporary interlude in the performance where a character (typically the Zanni or Arlecchino) would have a moment of comedic action or dialogue that would either represent their key character traits or simply be funny (and at times rude with sexual innuendos). Lazzis would never only appear once in a performance, and the repetition of these in scenes where they contrast heavily created great comedic effect. Each character would also have their own dedicated Lazzi and would not change between plays or companies, leaving audiences not only recognising them both as characters and Lazzis, but coming to expect them.
With the vast majority of Italy at the time being illiterate and having their own regional dialects instead of unified languages such as Latin or Italian, companies instead turned to Grammelot to convey the idea of speech in their performances. Grammelot is an imitation of language often used in satirical theatre, and instead of understandable language it is utter gibberish. The meanings of the 'language' is instead conveyed through the physicality and intonation of the actors, using techniques such as onomatopoeia, mime and mimicry. In doing this, it also allowed to actors to further exaggerate their characters through their physical actions and expressions; as instead on focusing on what the characters are saying, we focus on how they say it and how they imitate real language to mock how others (typically those in power) speak.
Another large aspect of Commedia Dell'arte, and arguably most recognisably, would be the character masks. Each character would have their own mask except for the lovers (Flavio and Isabella), and would help not only to make expressions clear to an audience, but to enforce a character's archetype. These masks were often stock characters and represented roles, with an actor using multiple masks to play different characters. However, many performers would create their own masks or develop pre-existing ones, creating characters such as the Capitano. This again allowed for variety between companies, whilst staying consistent. More noticeably, the masks in Commedia Dell'arte only covered half of the face, which allowed for more expression and nauce to come through the actor's facial expressions and voice.
In each Commedia Dell'arte company, you would typically have 12 actors who would each specialise in performing a character. Their physicality would differ drastically between each one and reflect the archetype they are portraying, partly to entertain the audience but mainly to mock the types of people these characters were based off, especially those of higher class and social status. In turn, we are made to feel more pity for the characters of lower status as they are mistreated by their masters. This satire is a critical point of the comedy and effectiveness of Commedia Dell'arte as an type of theatre performance.
STOCK CHARACTERS
ZANNI
THE IGNORANT SERVANT
Of all the Commedia Dell'arte characters, Zanni sits at the bottom of the food chain. He is a servant of the house, mainly serving under Pantalone, and is known to be ignorant, loutish and lacking any form of self-awareness. The word 'Zanni' is actually a general term for servant and is where the word 'zany' derives from.
The Zanni is characterised by his slapstick comedy, and his chronic hunger. He has a desire to eat anything and everything. He also has an animistic view of the world in the sense that he sees a spirit in everything, so it could be eaten. Despite his buffoonery, the Zanni is a very loyal character, always serving his master to the best of his non-existent ability. He is also known as a 'stupid genius' which often leads to hilarious moments of misunderstanding as he can not achieve the simplest of tasks yet can make the impossible possible.
The Zanni appears to represent the rural peasants and immigrants of the time, and more so how they were mistreated by the upper classes when they could not understand their orders.
The physicality of a Zanni consists of a low centre of gravity, with a wide stance of outturned feet, arched back and hanging arms which swing loosely. He moves at an uneven of threes, before a pause and repeat; and is constantly fascinated and looking at his surroundings. In this way the Zanni acts a bit like a monkey, which could represent his lower intelligence.
The mask of a Zanni is identified by its long nose, and the longer the nose of the mask, the stupider the Zanni would be. His costume would also consist of white baggy clothing, often seen to be worn by peasants and farm workers of the time.
ARLECCHINO (HARLEQUIN)
THE TRICKSTER SERVANT
Arguably one of the most well-known and recognisable characters of Commedia Dell'arte, the Arlecchino is also a low servant of the house. However unlike his counterpart the Zanni, he is more lighthearted, astute and nimble often acting to thwart the plans of his master to pursue his own interests with wit and resourcefulness.
One of the main aspects of a Arlecchino's character is their physical agility. He would be very nimble and never perform a simple action, often spicing it up with some form of acrobatics. However despite this, he is still a form of Zanni, and like him has the paradoxical attributes of a dimwitted fool and an intelligent trickster. In fact, it is sometimes referred to as Arlecchino simply putting on a show of stupidity in a metatheatrical attempt to create chaos and be able to pursue his own interests. This interest would often be the love interest of the character Columbine, with his lust for her only superseded by his desire for food or money, much like a Zanni.
For an Arlecchino, his physicality would be very fast and nimble, reflecting his nature. He would be light and fast on his feet rocking on his toes, with his weight lifted forward. He would lead with his forehead and would always be active, either doing something or looking for something to do.
A mask of an Arlecchino is identified by carbuncles on the forehead, small eyes, a snub nose, hollow cheeks, and sometimes bushy brows with facial hair. His costume would be covered in irregular patches, reflecting a deceptive, chaotic nature, and he would wear a hat with a fox or rabbit tail.
BRIGHELLA
THE BRUTISH SERVANT
The Brighella is not like the other servants. He is often characterised as being a member of the middle class (having worked his way up from poverty) and usually takes the role of a tavern owner or the leader of the servants. The Brighella is essentially the Arlecchino's older and more vindictive brother.
For a Brighella, they thrive on their masterful lying and can make up any spur-of-the-moment lie for the situation. He is an opportunist, and will always seek the greatest advantage to favour himself. To do this, he will serve his master dutifully or look for every chance to take advantage of him for his own personal gain. In this way he is a double dealer, doing whatever he can to save his own skin. When his plans are foiled, it will usually be on account of luck on behalf of the other characters. He is also a violent and abusive character, often mistreating the servants below him, abusing and treating them like animals. He is very fond of money, but will spend it rapidly, usually on drink.
The physicality of a Brighella is very nonchalant, as he leads with either his hips or torso with an wide and open posture. His torso would bend from side to side as he walks with his head staying vertical. His body language in general is very relaxed showing his control over others.
A mask of a Brighella is distinguished by a hook nose and thick lips, along with a thick twirled moustache which gave him an offensive characteristic. His costume would be loosely fitted white clothing, which reminisces his Zanni origins. However unlike the Zanni it would be accented with green trims which reflect his preternatural lust and greed. He would also be equipped with a slapstick or wooden sword, often used to punish Zanni and Arlecchino.
IL CAPITANO
THE COWARDLY 'CAPTAIN'
Il Capitano, another easily recognisable Commedia Dell'arte character, is notorious for his boastful and large character that he personifies himself as contrasted with his actual cowardly nature. He is always a stranger in town and could very well be a Zanni from another village, who masks himself in these imaginary feats.
The characteristics of a Capitano relies on two opposite personalities. The 'Captain' and the coward underneath the facade. The 'Captain' personality is the vainglorious soldier who continually affirmed his military quality in words and without foundation. He could boast of titles he did not possess or of feats he had never accomplished. However most of the time he would only end up impressing himself with his tall tales and can easily get carried away without realising those around him are not buying his act. The coward is the complete antithesis to this and would be the first to run away from any confrontation. He also has trouble talking to and being around men. He is also extremely opportunistic and greedy. If hired by the Pantalone to protect his daughter from her many suitors, the Capitano would set up a bidding war for his services or aid between the suitors and Pantalone while wooing her himself.
Il Capitano is very obviously poking fun and mocking the military, as he satirises bravery and hyper-masculinity in appearance but is not capable of anything actually useful.
A Capitano leads with his chest, which is pushed forward whilst pointing his head upward and looking down his nose. He moves with grandeur and has large, kicking strides in his feet. When he is frightened, he completely changes and becomes very full, closing off his posture.
Capitano's mask is described as having "a long nose, often unambiguously phallic." This long nose is also typically a feature of a Zanni, which backs the implication that he is simply a Zanni putting on a facade. The costume of a Capitano consists of a military uniform, or something resembling one. As a satire of the time period, it would have overly extravagant garters with a plethora of ruffles. He would also yield an extraordinarily long sword, which he would wear on his hip. If he were to ever work up enough nerve to draw it, it was usually too long to draw easily or too heavy or wobbly to wield properly. Even if he cut somebody with it, he would faint at the very sight of the blood.
IL DOTTORE
THE INEPT EXPERT
Now starting to look at the 'master' characters, we first have Il Dottore, or 'the doctor'. Dottore is a highly educated character but not intelligent. He is also obscenely rich which leads to him having a pompous nature; but subsequently he is then a comic foil to Pantelone acting either as an advisor, friend or competitor; with Pantalone being the decadent wealthy merchant, and Il Dottore being the decadent academic.
Il Dottore is characterised as an older and 'wiser' man. I place 'wiser' in parenthesis because whilst having attended university, he merely pretends to be an expert in a number of subjects, talking constantly but saying nothing more than nonsense as he has no idea on what he's speaking about. He is usually the father to either Columbina or Isabella and would act as an obstacle between the Lovers. Noticeably, Il Dottore is quite rotund and fond of food and drink, as well as girls. However, with girls he is often untruthful and would get caught cheating multiple times, being described only as a "love rat."
A Dottore is clearing creating a parody of 'intellectuals' and the educated elite as most of the time he is speaking utter nonsense except for when he sometimes throws in a sophisticated word or ancient Latin / Greek, which is clearly how it would appear to those not as fortunate as this elite.
Il Dottore will walk with a slow bounce to him due to his size and would stomp with flat feet. His chest would be up, his knees bent and he would lead with his forehead, looking down his nose in an arrogant fashion. He would plant himself in one position when talking to make a point and gesticulates constantly as he speaks.
With the mask of an Il Dottore, it is unique as unlike most Commedia Dell'arte half masks this mask would only cover a third of the actor's face, highlighting the inflated forehead and nose. The actor's cheeks may sometimes be painted rouge to imply Dottore's fondness of drink. His costume would be mostly or all black, with trailing robes. The actor also often has to appear fat and old to further the parody.
PANTALONE
THE GREEDY MASTER
